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Pop

Fleetwood Mac, “Rumors: Deluxe Anniversary Edition” (Warner Bros., three discs). It’s certainly not news that Fleetwood Mac’s “Rumors” is a pop masterpiece, a high-water mark in the annals of ’70s California-based rock and pop. Very few self-respecting record collectors or rock historians would consider their collection complete without it. We all know the story of its creation – how the songs reflected the romantic turmoil within the band, as various relationships crumbled, principally the very torrid one between singer Stevie Nicks and guitarist/songwriter Lindsey Buckingham. What we may not know is what a fantastic live ensemble this particular lineup of Fleetwood Mac was. This new anniversary edition gives us a beautifully remastered version of the original album, with the inclusion of the revered outtake “Silver Springs” tacked on, and a whole disc’s worth of alternate versions and outtakes, too. But the grand prize is the full live concert from the 1977 “Rumors” world tour, which takes up a full disc. This is the holy grail for Mac fans, and makes the anniversary edition a must-have. 4 stars (Jeff Miers)

Classical

Schubert, Erlkonig, Matthias Goerne, baritone, Andreas Haefliger, piano (Harmonia Mundi). Dear Franz Schubert, dead at 31, never outgrew his youthful knights-and-ladies days. He was the Viennese version of John Keats, walking the line in these songs between love and heartbreak, swashbuckling romance and heartbreaking sorrow. Goerne borrows a lot from the great Schubert singer Dietrich Fischer-Dieskau. His voice is his own, rich and deep. Goerne has a fine intensity and sense of purpose. The little-known “Schatzgrabers Begehr,” the song of the treasure seeker, moves relentlessly forward, and so does the stormy “Der Strom,” and “Normanns Gesang,” a galloping song based on Walter Scott. Impossible as it sounds, Goerne even finds ways to add new terror to “Erlkonig.” Schubert fans develop deep feelings for these songs, and Goerne does not always do everything I want him to do. But I am coming to the realization that he is a marvelous singer, and I love his commitment to Schubert. Pianist Andreas Haefliger brings out the mercurial nature of the often demanding piano parts. Three and a half stars (Mary Kunz Goldman)

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Bartok, Eotvos and Ligeti, Violin Music with Orchestra performed by violinist Patricia Kopatchinskaja with the Frankfurt Radio Symphony Orchestra and Ensemble Modern conducted by Peter Eotvos (Naive, two discs). Would you believe a two-disc set of ultra-contemporary violin music devoted to Transylvania? As the notater here points out, it was not only where Dracula came from but where Bela Bartok did so much of his research into Hungarian folk music and where composer Gyorgi Ligeti and composer/conductor Peter Eotvos both came from. What is most impressive of all here, of course, is Patricia Kopatchinskaja, one of a large platoon of lovely and hugely capable female violinists who seem to be coming out of Europe bent on Lord-knows-what world conquest. She’s from tiny Moldova and she turns out to be an enormously impressive violin soloist, giving Bartok’s Concerto No. 2 suitable gypsy tang and abandon and both the haunting sonic disembodiment and weird sweetness of Ligeti’s violin concerto from 1992. The conductor’s own early work “Seven” completes her program with him. An ambitious, uncompromising and hugely persuasive program from a 35-year-old violinist and a perfectly apt accompanying orchestra. ∆∆∆½ (Jeff Simon)

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Jonas Kaufmann, Kaufmann, Wagner, Orchester der Deutschen Oper Berlin, Donald Runnicles, conductor (Decca). The first time I heard Jonas Kaufmann, singing Schubert, I recognized quality when I heard it. He continues to impress in this Wagner collection, including excerpts from “Die Walkure,” “Siegfried,” “Tannhauser,” “Lohengrin” and “Die Meistersinger.” And there are two very cool touches. One is music from Wagner’s early opera “Rienzi.” The other is that Kaufmann sings Wagner’s “Wesendonck Lieder.” How often do you hear a man sing them? Kaufmann’s tenor has a low timbre, almost like a baritone. I wonder if in later years he will begin taking on lower Wagner roles, as Placido Domingo has done. I can imagine that, because Kaufmann has so many wonderful things going for him. One is his sheer power. As Siegmund in “Walkure” he gets going like a steam engine, holding syllables so long and so powerfully that you find yourself thinking your CD is stuck. His lyricism mirrors the subtle, pensive orchestrations. In “Siegfried,” his exchange with the Forest Bird is enchanting. Rienzi holds its own surprisingly well among the later operas. The Wesendonck Lieder take getting used to – Wagner specified that they be sung by a woman – but Kaufmann gives the songs the same dramatic, operatic beauty and intensity that I imagine more tenors will follow in his footsteps. Three and a half stars. (M.K.G.)

Jazz

Frank Vignola and Vinny Raniola, “Melody Magic” (Azica); Vince Abbracciante, “Introducing Vince Abbraciante on Accordion” (Bumps). Europe’s jazz community insists that we have nothing to fear from the accordion. On the basis of these two discs – one as American as apple pie, one from Italy featuring the most eccentric jazz virtuoso who will ever come out of Buffalo – you’ll almost be inclined to agree. Frank Vignola’s delightful “Melody Magic” is a wildly swinging string jazz performance of great classical themes that is so far beyond mere kitsch that it’s close to hilarious. Beethoven, Grieg, Bizet, Bach, Mendelssohn, Tchaikovsky and, yes, The Beatles and Sting come into these string jazz showpieces by acoustic guitar masters and it’s never less than a kick, even when Julien Labro’s accordion shows up on four tunes. Not quite as consistent is Italian accordionist Vince Abbracciante, who has been musical company to the great bassist Juini Booth recently. Without question, the most unpredictable musician ever to come from Buffalo, Booth is a marvelous bass player who has appeared with Art Blakey, McCoy Tyner, Freddie Hubbard, Gary Bartz, Pharoah Sanders, among countless others, and even contributes three tunes to the disc by the Italian accordionist, including a jaunty recomposition of Kenny Dorham’s “Blue Bossa.” (Find the Abbraciante at www.thebumps.net/rec/records.) Three stars for Vignola, two and a half stars for Abbraciante (J.S.)

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Grace Kelly, “Live at Scullers” (Pazz). So welcome a figure has Grace Kelly been that it was almost unavoidable that she’d be overrated. She is an alto saxophonist proficient enough to perform with the great bebopper Phil Woods without him feeling put-upon. She is also a plaintive singer/songwriter with no more compunction whatsoever about revealing her personal life through music than Taylor Swift. Who knew that a young female jazz star would come along like her? About this set from Boston’s Sculler’s Jazz Club, she says “I’ve been performing at Sculler’s Jazz club ever since I was 13. It feels like my second home.” She’s more charming than accomplished at this stage but nothing if not fresh. Two and a half stars (J.S.)